For a performer who never dreamt of being a "folksinger," Dave Van Ronk left a deep mark on the entire folksong revival. His jazz-trained voice, masterful guitar technique, and sharp wit endeared him to audiences everywhere; his generosity of spirit earned him friendship with artists such as Phil Ochs, Bob Dylan,...

For a performer who never dreamt of being a "folksinger," Dave Van Ronk left a deep mark on the entire folksong revival. His jazz-trained voice, masterful guitar technique, and sharp wit endeared him to audiences everywhere; his generosity of spirit earned him friendship with artists such as Phil Ochs, Bob Dylan, Joni Mitchell, Mississippi John Hurt, and Christine Lavin. This October 2001 recording of his last concert features the incomparable...For a performer who never dreamt of being a "folksinger," Dave Van Ronk left a deep mark on the entire folksong revival. His jazz-trained voice, masterful guitar technique, and sharp wit endeared him to audiences everywhere; his generosity of spirit earned him friendship with artists such as Phil Ochs, Bob Dylan, Joni Mitchell, Mississippi John Hurt, and Christine Lavin. This October 2001 recording of his last concert features the incomparable "Mayor of MacDougal Street" at his lively best.
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There's a major strike against this recording of a September 14, 1972, reading in San Francisco that has nothing to do with the performance or the contents of the readings: the fidelity is poor, sounding as if it was made on a cheap portable tape player from the audience. That makes this more of archival historica...

There's a major strike against this recording of a September 14, 1972, reading in San Francisco that has nothing to do with the performance or the contents of the readings: the fidelity is poor, sounding as if it was made on a cheap portable tape player from the audience. That makes this more of archival historical value than something that might endure as a document of Charles Bukowski at his best in a live setting. Setting the sound quality asi...There's a major strike against this recording of a September 14, 1972, reading in San Francisco that has nothing to do with the performance or the contents of the readings: the fidelity is poor, sounding as if it was made on a cheap portable tape player from the audience. That makes this more of archival historical value than something that might endure as a document of Charles Bukowski at his best in a live setting. Setting the sound quality aside, the author is reasonably effective in this 40-minute set, which is not so much poems -- or what many average listeners might conceive of as poetry, at any rate -- as vignettes and observations. In keeping with the tone of much of Bukowski's work, these tend toward laconic portraits of life's dark side that avoid moralizing. They're laced with references to explicit sexual practices, abuse, poverty, and bodily excretions that still retain their capacity to shock, and won't be well received by the easily offended. Still, they have their value as unflinching reflections of harsh experience, occasionally lightened by some morbid humor. Sometimes individual lines of the pieces are striking, as when he notes "it's darker than hell, and twice as expensive" in "The Shoelace." And sometimes, the wit, sex, bodily excretions, and zest for pushing the limits of acceptable taste all come together, particularly in the concluding ode to anal sex, "The Best Love Poem." Bukowski also lives up to some aspects of his legend with some self-deprecating unflattering comments about his own character, occasionally burping into the mike as if to remind us (as if any reminder was necessary) that he was an uncouth drinker without conventional respect for social etiquette. ~ Richie Unterberger, All Music Guide
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This double CD draws upon the collection at the Smithsonian Folkways archive to create a history of African American life and culture in soundan aural history. Encompassing both the African American oral and literary traditions, these 59 tracks feature an unparalleled assembly of voices in music, oratory, poetr...

This double CD draws upon the collection at the Smithsonian Folkways archive to create a history of African American life and culture in soundan aural history. Encompassing both the African American oral and literary traditions, these 59 tracks feature an unparalleled assembly of voices in music, oratory, poetry, and prose by historically renowned African American musicians, writers, and activists. The sounds collected here are testimony to t...This double CD draws upon the collection at the Smithsonian Folkways archive to create a history of African American life and culture in soundan aural history. Encompassing both the African American oral and literary traditions, these 59 tracks feature an unparalleled assembly of voices in music, oratory, poetry, and prose by historically renowned African American musicians, writers, and activists. The sounds collected here are testimony to the power, creativity, and resilience of Black expressive forms that have received recognition throughout the world. 59 tracks run two hours and 27 minutes. 40-page booklet.
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